Welcome to this week in comic book reviews!

The staff have come together to read and review nearly everything that released today. It isn’t totally comprehensive, but it includes just about everything from DC and Marvel with the important books from the likes of Image, Boom, Dark Horse, and more.

The review blurbs you’ll find contained herein are supplemented in part by longform individual reviews for significant issues. This week, that includes Green Lanterns #44, Amazing Spider-Man #298, and Isola #1. The links to those are also included with a snippet from the review in the following slides.

Also, we should clarify that we’ve simplified our ratings. If you’re a longtime fan, you’ve likely seen both letters and numbers attached to comic reviews. Going forward, this is now a whole number out of five; that’s it!

And with that, on to the reviews — which are listed first by DC, Marvel, and the rest of the publishers and then in alphabetical order.

DC #1

ASTRO CITY #51

As Astro City returns to its greatest examination of grief, it comes across a truism: hurt people hurt people. The issue is fractured into several narratives, allowing threads to unwind in a middle chapter. However, each of them pulls at an important thematic thread, building empathy and showing how difficult it can be to recover. There’s a lot of truth to the approach of a therapy group, both in the subtle moves made by its leader and the equally subtle emotions drawn by Anderson. This is difficult material from start to finish, and the entire creative team handles it admirably. — Chase Magnett

Rating: 4 out of 5

BATMAN #44

Let’s just cut to the chase: this might be one of the best Batman issues in a long time, not because of the story but because of how beautifully the issue respects the long history between Batman and Catwoman. With their wedding rapidly approaching, Tom King does an incredible job of tying the past with the present, showing how the two characters have evolved over time. The actual story of the issue — Selina on a very unique “shopping” trip for her wedding dress — is beautifully put together with no actual dialogue. However, it’s the art that takes this lovely and clever story and elevates it to something classic. All in all, a perfect chapter in the Batman story. — Nicole Drum

Rating: 5 out of 5

BATMAN WHITE KNIGHT #7

Batman White Knight continues to paint one of the most fascinating depictions of the Joker yet, precisely because fans finally get to know the person underneath the crazy. That’s what makes Napier’s descent back into madness rather heartbreaking, and Sean Murphy’s gorgeous art only feeds that element of unpredictability and somberness throughout the issue. Napier isn’t right about everything of course, but that’s what makes this a genuinely intriguing conflict. Napier’s actions make the Joker bits much more compelling, and the same can be said for Batman too. This story is heading for its climax, and we can’t wait to see how it ends. — Matthew Mueller

Rating: 5 out of 5

BLACK LIGHTNING COLD DEAD HANDS #6

Bad writing does not become any less bad when it calls attention to itself. Throughout the finale issue of this miniseries, characters discuss themselves and their actions in fictional tropes. The term “big bad” is used three times after pointing out that it is inappropriate for the circumstances the very first time. Villains explain their plans and heroes explain their own, all in order to make time for an escape or fix a problem. Everything is explained and not a single thing is shown. What little action does make its way into panels is stiff and uninspiring. This is a textbook example of how not to tell a superhero story at almost any level. When you throw hamfisted social commentary on top, it becomes an undeniable disaster. Keep it. — Chase Magnett

Rating: 1 out of 5

BOMBSHELLS UNITED #15

The Bombshells’ latest mystery brings the group to some pretty dark places, but it doesn’t quite pack a punch. The wide ensemble of characters arguably is both a positive and negative for this run, as it leaves some characters without really much to do. The art also has some issues here and there, with characters having wildly different facial structures from panel to panel. But this issue does have some positives — it provides a few answers to this mystery of an arc, it includes a few delightful exchanges, and it technically brings together one fan-favorite pairing. — Jenna Anderson

Rating: 2 out of 5

CURSE OF BRIMSTONE #1

if you read the synopsis for Curse of Brimstone and thought, “Hey, this sounds a lot like Ghost Rider,” you were absolutely right. The first issue of Brimstone tells the story of a young man from a rundown town and tattered family, hoping to make the lives of those around him better. So he makes a deal with some mysterious, demonic force and becomes a fire-wielding “agent” himself. The premise here is completely unoriginal, and not nearly as exciting as some Ghost Rider comics, but, fortunately, not everything about this book is dull. Writers Phillip Tan and Justin Jordan do a solid job of making the lead character someone that readers can relate to, even if his dialogue and story are fairly cookie-cutter throughout. The art from Tan here is the real bright spot, as he moves through the story and around in the panels in such an interesting fashion that you can sometimes get lost in the flow of the images, forgetting you’re reading such a bland tale. Overall, Curse of Brimstone #1 can be a fun read, but you won’t remember much about the book 10 minutes after you put it down. — Charlie Ridgely

Score: 3 out of 5

DC #2

CYBORG #21

Marv Wolfman clearly knows the character of Cyborg extremely well, and there’s nothing wrong with his depiction here either. Despite that positive, the story just isn’t all that engaging, and the same can be said for the art. Tom Derenick and Scott Kolins craft some visually pleasing action sequences, but at times it is easy to get confused as to who’s shooting at whom and why when the blasters start firing. There’s some fun to be had here, but things just aren’t gelling yet. Hopefully, that changes next issue. — Matthew Mueller

Rating: 3 out of 5

DEATHSTROKE #30

Priest’s run on Deathstroke has been the kind of work that fans will talk about for years to come, and the idea of a six-part epic battle royale between Batman and Deathstroke is a no-brainer, so of course it’s all eyes on Deathstroke #30, with art by Carlo Pagulayan, Jason Paz, and colorist Jeromy Cox.

The issue does not quite deliver; all of the pieces are there, but this is very clearly a setup chapter, and there is very little here that has not already been blown in the promotional run-up to the story.

In most stories — say, a movie or a TV show — there is no problem with spoiling the basic premise of a story. Here, though, we are dealing with a single-issue comic that is clearly being written for the trade. While it is gorgeously drawn and Priest obviously has a handle on these characters, there is nothing much here.

All in all, the issue reads like the relatively uneventful first chapter of what is going to be a pretty good storyline. — Russ Burlingame

Rating: 4 out of 5

EXIT STAGE LEFT THE SNAGGLEPUSS CHRONICLES #4

After a distracted issue, this mini-series resumes its focus and casts new allusions from the era of the “Red Scare.” Discussion of game theory and how that paradigm shifts alters individual world views is fascinating and a worthwhile reminder of what this series is capable of. Yet the interest in drawing parallels between bunkers, bombs, and homophobia ultimately loses out to hate speech and tired tropes. The use of one particular word is entirely uncalled for as the script casts two of its characters into the role of self-loathing and self-harming gay individuals. There’s not much more depth to either and it reveals a troubling lack of thought in a series with plenty of good ideas. — Chase Magnett

Rating: 2 out of 5

GREEN ARROW #39

To a degree, this issue begins a new era of Green Arrow, following Benjamin Percy’s run recently coming to an end. And while this first chapter of “The Children of Vakhar” is a little rough around the edges, it feels like a pretty worthy follow-up. The issue places Oliver completely out of his element, going on a foreign aid mission that that simultaneously plays into and also pokes fun at the “White Savior” of it all. The plot definitely feels like the beginning of an arc, not providing too many answers while still giving moments that pack a punch. But what Lanzing and Kelly really nail is Oliver’s genuine heart, with quips and inner monologues that feel like a pretty strong blend of classic and modern Ollie. And Takara’s art pops with color and depth, fitting the story without feeling too far off from Ferreyra’s work in the previous issues. Fans who have fallen in love with Green Arrow‘s Rebirth run will hopefully enjoy where this issue is taking things. — Jenna Anderson

Rating: 4 out of 5

GREEN LANTERNS #44

[READ THE FULL REVIEW HERE]

Part of the reason the pairing of Jessica Cruz and Simon Baz works is their opposite approaches to pain and trauma. While it caused friction in the beginning, they’ve since learned to lean on each other to overcome many of those entrenched habits. Writer Tim Seeley puts Cruz back in the spotlight for this latest story but makes it clear this isn’t just a retread of her well-known struggles with anxiety and fear. — Matthew Mueller

Rating: 5 out of 5

HARLEY QUINN #41

Harley Quinn #41 is a mess, but it’s a fun, fantastic, and utterly bonkers mess. After being drugged and essentially mind-controlled, Harley decides to make things right. Teaming up with Killer Croc and a huge amount of allies — some unlikely — Harley takes on Penguin in an effort to take back Coney and while the plan is pretty well thought out, the execution is all Harley. Frank Tieri does an amazing job of making a highly chaotic fight oddly easy to follow. The dialogue is perfect; who else but Harley Quinn could say “come at me bro” and it feel spot-on? The issue ties up the “Angry Bird” arc in a mostly tidy bow, getting ready for the next chapter: “Old Lady Harley”. If it’s anywhere as perfectly nuts as this arc has been, bring it on. — Nicole Drum

Rating: 5 out of 5

DC #3

INJUSTICE 2 #23

Batman’s Justice League faces its biggest challenge yet in Injustice 2 #23, as Ra’s al Ghul launches his Amazo on the city of Delhi. While Injustice 2 is never for the light of heart, this issue has a pretty huge body count that numbers in the thousands. One thing I enjoyed is how the various factions of heroes came together to stop a common threat. Wonder Woman and Batman probably hate each other in the Injustice universe, but even they can put aside their differences to stop the slaughter of millions. This is shaping up to be an epic storyline, and I’m guessing a few heroes aren’t going to make it out of next issue. — Christian Hoffer

Rating: 4 out of 5

JETSONS #6

A solid end to the story, Jetsons #6 wraps up all of the narrative threads over the course of the limited series, but even though the book ends on an optimistic note, the final chapter of the possible end of the world seems a little bloated and overly complicated without any real need or solid explanation of what’s happening. What is clear is that by book’s end, the issue has set up for all new and unique adventures for George Jetson and his family. The art is a little distracting on top of the already clunky writing and odd philosophical waxing — there’s far too much use of blurring and lack of focus with the brightly colored panels — but if you can get past those things, the resolution to the series is very much worth your time. — Nicole Drum

Rating: 3 out of 5

JUSTICE LEAGUE #42

Justice League has been a bit hit and miss, but man when it hits it hits. The Fan storyline is finally starting to be phased out, but it did ultimately do its job and get us to the good stuff. Cristopher Priest raises compelling questions about duty, heroism, boundaries, and more, all within a superhero tale that just when you think its gotten predictable sidesteps into new territory. This is the League answering real questions, and that ending will leave you incredibly annoyed that you have to wait for what happens next. — Matthew Mueller

Rating: 5 out of 5

NIGHTWING #42

After concluding a major story arc last month, Nightwing #42 is a one-off issue with a completely new creative team — and it’s not that great. The book is essentially a story about Nightwing trying to rescue Damian from an ancient Japanese warrior, trying its best to emulate the art of that culture without ever really delivering. The inner monologue is weak, the story itself doesn’t have much of a point, and the majority of the art (especially in the details of the characters) is subpar. The one exception to the weak art, and the one really great thing about this comic, is its action sequences. The fight scenes are beautiful, reminding me a lot of some of Samurai Jack‘s better action moment’s. Outside of these scenes, however, this book isn’t worth the time. Even if you have been reading every issue of Nightwing to this point, #42 is just a filler story, absent of continuity, meant to fill a spot on the schedule until Benjamin Percy’s new arc begins. — Charlie Ridgely

Rating: 2 out of 5

SHADE THE CHANGING WOMAN #2

The second volume of this Young Animal series continues to get stranger in the best possible ways. Almost every page of the issue is framed in a unique manner, moving between cut out hearts and dance steps. Its focus is primarily on the feeling of plot rather than the actual timeline of events. Characters change, threats grow, and plenty happens, but it’s how it all connects on an emotional level that’s at the forefront of the comic. It’s non-typical, but not distracting. Every image is well chosen to meet the moment and it provides for some minor tragedies and a final reveal that all feel heartbreaking. This is Shade, The Changing Woman being its best self. — Chase Magnett

Rating: 4 out of 5

SUPERMAN #44

There is a lot going on in Superman #44, as writers Peter J. Tomasi and Patrick Gleason wrap up their acclaimed Superman run with a trip to Bizarroworld, illustrated by Doug Mahnke.

Not quite the team’s final issue yet, this one — with inks by Mahnfke and Jaime Mendoza and colors by Will Quintana — is one of the most beautifully-written issues of the series. Mahnke’s Superman, sunken-eyed and square-jawed, does not always cut the regal figure that other great Superman artists manage to, but here, juxtaposed against Bizarro, it is clear the kind of unconventional grandiosity Mahnke brings to the proceedings.

The writing in this arc continues to frustrate; the team are clearly having an absolute ball, but the determination with which they commit themselves to Bizarrospeak makes sequences — especially ones where Bizarro characters are disagreeing or fighting with one another — nearly impenetrable on a casual readthrough. Both the rich characterization and lush, world-building (and destroying) art beg for a closer look anyway, so it is hardly the worst thing in the world, but ideally both a casual and more thorough reading would provide a coherent whole. — Russ Burlingame

Rating: 3 out of 5

Marvel #1

ALL NEW WOLVERINE #33

On paper, the idea of “Old Woman Laura” has sounded like it would be a sort of mixed bag. But this first installment in the arc sneaks up on you in a delightful amount of ways. The setting puts both Laura and Gabby in entirely unique predicaments, while still holding a firm grasp on the younger versions of the characters that we’ve grown to love. While the execution falters in some very, very small segments, Laura’s mission in the future — and the people she brings along for the ride — will hopefully surprise readers for the better. Because really, there’s definitely a wide audience of people who could enjoy this issue; people who did like Old Man Logan, people who didn’t like Old Man Logan, people wondering what the future could hold for the Marvel universe, and people just looking for an enjoyable, unique read. — Jenna Anderson

Rating: 4 out of 5

AMAZING SPIDER-MAN #798

[READ THE FULL REVIEW HERE]

The pressure of ending a titanic run on one of the most popular titles in superhero comics must be incredible. “Go Down Swinging” has been hyped by both its publisher and comics sites (myself included) as one of the must-read events of 2018. That’s a lot of attention to meet, and it’s what makes Amazing Spider-Man #798 such an interesting read. It functions as both a response to expectations for a Spider-Man comic and a reminder of why so many readers love this franchise in the first place. There’s a promise at its core too: Dan Slott will go down as one of the greats. — Chase Magnett

Rating: 4 out of 5

ASTONISHING X-MEN #10

ACO brings his distinctive art style to this issue of Astonishing X-Men. What that ends up meaning is a lot of attractive, complex layouts and two-page spreads. Considering this issue finds the X-Men battling dragons on the way to engage with a reality-bending psychic entity, the two-page spreads emphasize the grand scale of the story, but the intricate layouts sometimes come at the cost of readability. Soule’s dialogue between team members gets better with each issue, though this issue is a bit light on substance. — Jamie Lovett

Rating: 4 out of 5

AVENGERS #687

This is a surprisingly ponderous issue of Avengers, putting the brakes on the momentum of “No Surrender” so that Voyager can bring the team up to speed on everything that’s been happening with the Grandmaster and the Challenger behind the scenes. The rest of the issue is made up of several different versions of the “What does it mean to be an Avenger?” talk. Its all executed well enough, and in the grand scheme of things, this breather of an issue is necessary to reset the board for the final act of “No Surrender”, but it’s also not the most memorable chapter of the saga. — Jamie Lovett

Rating: 3 out of 5

AVENGERS SHARDS OF INFINITY #1

All-ages comics make stories accessible to everyone; bad all-ages comics do that in the most condescending fashion possible. Every action, motive, and concept in this comic is described in dialogue that is almost indistinguishable between heroes. It tells readers exactly what is occurring to an extent that you question whether the writer has less faith in the artist or audience. The plot itself is pat and comfortably told. It’s the sort of offering you might imagine giving to someone for a free first comic if they had never read a superhero story before. Even that reader would likely be turned off by the patronizing tone of this issue though. — Chase Magnett

Rating: 2 out of 5

BLACK BOLT #12

Now that it’s over, it is more than safe to say that Ahmed and Ward’s run on Black Bolt defied expectations. The two complement each other well, and this issue provides some much-needed closure on the various relationships — new and old — that they examined throughout its tenure. If you’d told me two years ago that the following words would eventually escape my mouth, I’d have laughed in your face, and yet…

We will miss Black Bolt. — Rollin Bishop

Rating: 5 out of 5

Marvel #2

IRON FIST #79

“Damnation” is at its heart a Doctor Strange story, but it also happened to spawn a satisfying Iron Fist story in the process. Ed Brisson pulls at the heartstrings with a poignant portrayal of Orson Randall, conveying to fans his genuine desperation. The visuals of Damian Couceiro and Andy Troy cement that tone and the story as a whole is pulled together by emotional consequences for the lead. While the events of this issue will impact longtime Iron Fist fans much harder, it doesn’t mean more recent fans shouldn’t still check it out. — Matthew Mueller

Rating: 4 out of 5

MARVEL TWO-IN-ONE #5

Alternate universes and dystopias are typically used to show how bad things can get. That’s what makes the choices in this particular version of the story surprising in the best possible way. Ben and Johnny still occupy an Earth where things have gone very wrong, but the issue never wallows in them. Instead it confronts them with imagination, optimism, and familial love in the best traditions of the Fantastic Four. Schiti makes every emotion sing, including the exaggerated sorrow of Reed Richards and rage of Ben Grimm. Even as alternate versions of one another, it’s clear how and why these characters connect. Building to the titanic confrontation coming next issue, there could be no better setup for hope in the face of annihilation. — Chase Magnett

Rating: 4 out of 5

MARVELS ANT-MAN AND WASP PRELUDE #2

Marvel’s Ant-Man and Wasp Prelude #2 is a mediocre adaptation of the second half of the Ant-Man movie. Not only is the comic poorly drawn, it lacks any of the humor or heart of the actual movie. Even worse, the Prelude comic doesn’t provide any new context, new scenes, or any new information related to the upcoming Ant-Man and Wasp movie. Honestly, this whole thing feels like someone made a comic of the Ant-Man movie Wikipedia page. It would be a much better value to simply rent the original film than waste your money or time reading this comic. — Christian Hoffer

Rating: 1 out of 5

NEW MUTANTS DEAD SOULS #2

The second issue of New Mutants: Dead Souls maintains a lot of the potential from the first issue without really building upon it. Magik remains the only character who doesn’t feel like they were chosen simply to fill out the team, though the conversations had over brunch are enjoyable. The shadowy, malleable artwork is well-suited to the material but often feels like its missing the middle panel of a sequence. The fight that takes up most of the issue is fun but ends so simply and definitively that you wonder why it took that long to climax. What’s good about the issue is good enough to make its flaws that much more frustrating. — Jamie Lovett

Rating: 3 out of 5

PUNISHER #223

Frank Castle’s first mission as War Machine reaches its third act, and the end result is ultimately fairly satisfying. After the last issue set up so much of a climax, the plot ends up being spread just a tiny bit thin, leaning on lengthy action sequences more than anything. But those violent, cinematic sequences, drawn delightfully well by Vilanova, are also where the issue excels. Readers will hopefully find it thrilling to see how Frank gets out of one impossible situation after another, only to be propelled into an even worse circumstance because of it. — Jenna Anderson

Rating: 3 out of 5

RISE OF BLACK PANTHER #4

The focus of each new issue in this series has taken on the feeling of a cover band playing the greatest hits. Doctor Doom is present here, but his story reads as being both outdated and not quite right. The language is flowery and ego plenty pompous, but his actual motivations are all explained in dialogue with no attempts at depth or nuance. Just as in every issue before it, Rise of the Black Panther #4 is overwhelmed with exposition. Doom’s incredible design is used almost entirely to stand in rooms talking with Black Panther. What little action there is feels perfunctory and ultimately doesn’t tie into the story at all. It’s an attempt to distract from the slog that is Marvel Comics history at its absolute driest. — Chase Magnett

Rating: 2 out of 5

Marvel #3

ROGUE & GAMBIT #4

Another issue, another heartbreaking examination of the relationship between the two eponymous protagonists. Rogue and Gambit’s history is so multilayered that this book could go on for several dozens of issues, but it still carefully carves out specific instances in time to poke and prod with a microscope that leave me emotionally broken. A series of panels where the two of them see from a past moment in time from the other’s point of view leaves both in tears, and almost left me the same. — Rollin Bishop

Rating: 4 out of 5

RUNAWAYS #8

This issue continues what fans have been loving about the current Runaways run, but gets slightly bogged down by the fact that it’s clearly a middle issue of an arc. To an extent, this issue just presents problem after problem for the group, with no clear answer as to how things will go next, and essentially half of the issue being devoted to a single fight scene. That ambiguity ultimately ends up simultaneously being a good and a bad thing, especially considering the storytelling pace of the series’ previous issues. Still, that doesn’t take away too terribly from the issue’s many strengths: Rowell’s delightfully poignant writing, Anka’s expressive art, and plenty of visual gags and little jokes that are sure to put a smile on fans’ faces. — Jenna Anderson

Rating: 4 out of 5

SPIDER-MAN #239

The penultimate issue of Brian Michael Bendis’ Spider-Man run is, unfortunately, little more than an average throwdown between superheroes and supervillains. Supervillains go for the score, Spider-Man calls in backup, hijinks ensue. A stronger artist may have been able to elevate the material to another level, but instead, the issue plays out as competent but not particularly memorable. — Jamie Lovett

Rating: 3 out of 5

STAR WARS #46

After recruiting a shapeshifter to help the Rebellion impersonate a Grand Moff, Luke, Leia, Han, and Chewie head to a swanky dinner party to perform the old switcheroo. Unfortunately, blending in with some of the most elite debutantes in the galaxy is tougher for some Rebels than others, leading to a pretty entertaining, albeit low stakes bit of shenanigans and good old-fashioned Rebel antics. The previous arc leaned much more heavily on the emotional journeys and evolutions that the characters needed to go through, with this arc feeling more like an adventure akin to the Millennium Falcon’s crew sneaking onto the Death Star to rescue Leia. The art on many of the characters’ faces still looks like they accidentally opened the front-facing cameras on their phones, yet some panels did depict a more colorful and playful aesthetic. — Patrick Cavanaugh

Rating: 3 out of 5

VENOM #164

Venom is beginning to feel like a skipping record. Each issue plays out pretty similarly to the last. Venom beats up some low-level villain, the symbiote freaks out, Eddie Brock is confused, etc. On the upside, Mark Bagley’s art manages to bring some life to a tired story and the final panel finally clues readers into to where all of this is going. — Jamie Lovett

Rating: 2 out of 5

VENOMIZED #1

The first issue of Venomized makes it clear that Cullen Bunn has thought long and hard about how the mechanics and ecology of symbiotes and Poisons work. Unfortunately, those details aren’t particularly interesting to have explained. That’s kind of a micro-view of the larger problem with the overarching story Bunn has been telling, that the Poisons just aren’t as interesting as they need to be to carry the narrative. — Jamie Lovett

Rating: 2 out of 5

X-MEN GOLD #25

X-Men Gold #25 loses all sense of narrative causality. The X-Men literally just walk away from what has been the core conflict of the “Cruel and Unusual” story arc. Mystical artifacts show up apparently just because they feel like it. There are fun moments marred by the fact that the story doesn’t do anything to justify them. The art is serviceable, but the story it is servicing tries to keep several balls in the air and drops all of them. — Jamie Lovett

Rating: 2 out of 5

Other Publishers #1

ANALOG #1

It’s not just that everything in Analog #1 has been done before, it’s that it has also been done dramatically better. The core premise of a society in which the cloud “burst” revealing every Internet secret is pulled straight from The Private Eye. That series presented an innovative take on the future, where this one feels like a dimestore knockoff of Transmetropolitan. Even as a grungy dystopia, a lack of ugly details and style leave much to be desired. The current political commentary could be yanked from a high school newspaper and the noir patter has almost no style. No matter what you come looking for in Analog, there’s guaranteed to be a better option somewhere else on the comics store shelves. — Chase Magnett

Rating: 2 out of 5

AGENT 47: BIRTH OF HITMAN #5

Agent 47: Birth of the Hitman continues to push 47 and Diana Burnwood towards their inevitable first meeting. While Burnwood’s quest for revenge hits a violent dead end, 47 finally gains something that resembles freedom from the Institute, although at the cost of his remaining memories and emotions. I appreciate that this comic is trying to bring some nuance into a video game franchise that’s always been more about emotionless murder fantasies, but it’s still hard for me to care about either 47 or Diana. Writer Christopher Sebela gives both tragic backstories, but neither really has any agency or control over their circumstances. — Christian Hoffer

Rating: 2 out of 5

BACKWAYS #4

Backways #4 pulls back the curtain on the history of this mysterious place, but not without setting up even bigger hooks for issues to come. As always Eleonora Carlini and Silvia Tidei’s visuals are stellar, and seeing these delightful character designs all occupying the same space is magic. Writer Justin Jordan deserves credit as well for breathing life into this history lesson, never letting it slow the story to a crawl. The lovely cast of characters are still the focus in this fascinating world, and the main quest of the story is never lost in the magical madness. In short, you should definitely give this book a chance. — Matthew Mueller

Rating: 5 out of 5

BETTY & VERONICA: VIXENS #5

The series begin a new arc in this issue, and the end result is a delight. The plot isn’t terribly profound, but it gives the girls plenty of opportunities to kick ass, and a new fan-favorite to enter the foray. And the art has become pretty consistent with this issue, giving the world an equally cartoony and badass aesthetic. If you haven’t picked up the series yet, this is a pretty perfect place to start. — Jenna Anderson

Rating: 3 out of 5

BETROTHED #2

This series has a stellar premise, and this issue starts to deliver on it in a big way. Tamara and Kieron are compelling leads in their own right and are only bolstered by their likable friends and caretakers. These two aren’t exactly willing to just go along with their new lot in life, and the two warring forces are also conflicted on letting it take place. That central conflict affects everything else, and you can’t help but become invested by issue’s end. The visuals are a bit shaky in certain spots, mostly because the art style doesn’t at times pair well with the heavy emotional moments in the story. When the tone is a bit light though the art soars, especially on that last page. It seems things are moving in the right direction, and issue #3 should only get better. — Matthew Mueller

Rating: 4 out of 5

BLACK CLOUD #8

Like cotton candy dipped in psychedelics, this issue offers one wild ride. It’s pandemonium from start to finish as even the slowest sequences provide a colorful array of villains doing devious deeds. Most of the momentum can be found in a non-stop blend of chase and battle with a mix of foes, each of which could hold an issue of their own. If it weren’t for the risks posed to a really charming protagonist, this would be pure delight. As it stands, it’s still hard not to crack a smile watching a rainbow unicorn or wolf-wasp committed to bloody work. This is some of the best, wild and weird storytelling you’ll find at Image Comics right now. — Chase Magnett

Rating: 4 out of 5

Other Publishers #2

DEMI-GOD #1

To put it nicely, Demi-God is just bad. The new Image series tells the tale of a scrawny down-on-his-luck nobody, who has an average job and bad luck with women. The story is told through the eyes of himself, in the future, where he has inhabited the powers and physique of Hercules, thanks to the magical powers of Babe Ruth (yes, for real). Demi-God attempts to be fun and witty, allowing the obnoxiously muscled narrator to break the fourth wall and make jokes about himself, a la Deadpool. The problem is, these jokes are never really funny. The characters here are beyond stereotypical, and sometimes borderline offensive. What’s supposed to be satire just comes off as an off-putting combination of ignorance and arrogance. The colors in the comic are pretty good, I guess? But when combined with poor writing and boring, albeit passable art, it doesn’t really do much to elevate the comic. Normally, you think of Hercules and other demi-gods as being mighty, endearing, and all around triumphant. This comic is exactly the opposite. — Charlie Ridgely

Score: 1 out of 5

DOCTOR STAR & KINGDOM OF LOST TOMORROWS #2

There’s nothing inherently wrong with a superhero homage, even one about a star-themed hero named Jimmy Robinson. The key is to find something interesting to say about the material obviously being referenced; that’s where this comic falls over. It’s yet another story of a distant father who made mistakes and doesn’t understand how to rectify them. It’s just like every story in that vein before. There’s little commentary on the classic Starman series beyond a clear reverence for it, and nothing to add on the other side. Everything about this issue is sad, but that’s not a theme or idea, just this series’ state of being. — Chase Magnett

Rating: 2 out of 5

ELSEWHERE #6

Elsewhere‘s biggest advantage is the sense of exploration and wonder it creates when it’s clicking, and that’s a big part of why this issue lands so well. Writer Jay Faerber takes the adventure to the open seas here, allowing the art team of Sumeyye Kesgin and Ron Riley to show off their abilities, but more importantly, it presents opportunities for intimate character moments that give this ragtag team some emotional weight. Sure we’re annoyed that we only get a small sliver of the mystery shown in last week’s issue, but you could also say that hook is most assuredly doing its job. — Matthew Mueller

Rating: 4 out of 5

FIGHTING AMERICAN TIES THAT BIND #2

Imitation can be the sincerest form of flattery, but it can also be downright insulting. This issue pulls many tropes and elements from Jack Kirby’s Golden Age endeavors, but it apes and repeats them without understanding their essential charm. Characters behave in a purposefully foolish manner and the plot twists are bludgeons, often using current politics to shock with no consideration as to why. The portrayal of all this is underwhelming at best, a workmanlike effort that tells a story without impact or excitement. It’s unclear who this comic is for as it lacks the artistic power of the original and undermines any nostalgic fondness that might still exist. — Chase Magnett

Rating: 2 out of 5

GOD COMPLEX #5

The script for this issue of God Complex is reminiscent of a lesser first-person shooter. A character explains his special abilities and what he wants without the slightest hint of inflection. It’s a hero whose core emotions are serious and more serious. When almost every other character in the story lacks a face, that makes for a very tedious reading experience. The mech designs are competent, but nothing about them exceeds expectations and the action is perfunctory in nature. It’s a comic about disconnect between mankind and machine that winds up being every bit as cold as the latter. — Chase Magnett

Rating: 2 out of 5

GIANT DAYS #37

Giant Days isn’t full of action or intrigue, but there is something very perfect about it’s slice of life storytelling. This issue sees Susan and her Granny deal with the revelations about Susan’s love life and while Granny doesn’t handle things perfectly she does react in a raw, real way that forces Susan to look for solutions to her housing situation. In the process, both Susan and her Granny grow as people and find their relationship strengthen as well. The humor of trying to find affordable college housing is humorous as well. Overall a refreshing, darling issue. — Nicole Drum

Rating: 4 out of 5

Other Publishers #3

GREEN HORNET #2

Sometimes focusing on a single flaw can clarify something much larger. The lettering in Green Hornet #2 is one of those times. Multiple bubbles and captions are read out of order, and text is often shrunk to be fit inside of a panel. It reveals a lack of forethought about how this story would function and lack of concern for the final product. Those same elements are present everywhere else. The story is packed with cliches and spends an extensive amount of time building a character who plays a minor role at best. The artwork is filled with static moments of action and uninteresting portrayals of form or setting. There’s nothing about this issue to be admired; it couldn’t even be bothered to put all of its words in the right order. — Chase Magnett

Rating: 1 out of 5

I HATE FAIRYLAND #18

The story is a little messy — the end of the world usually is — but there’s something to be said for an earnest quest to take on the establishment to get what seems like a hail mary pass greenlighted by the powers that be. In this case, Duncan Dragon and Larry know that what they need to save Fairyland is to resurrect Gertrude and to do that they have to call out hypocrasy in the process. That’s perhaps what makes this issue interesting: a big, bright colorful world with the same dark underbelly the real world has. This issue is largely a set up for the next issue, but even if the story is lacking, the colorful art is absolutely a delight with its perfect balance between the goofy and the grotesque. — Nicole Drum

Rating: 3 out of 5

ISOLA #1

[READ THE FULL REVIEW HERE]

Isola #1 might not be the flashiest comic debut in recent months, but that’s part of the beauty of it. What it does provide is equal parts understated and profound, in a world that readers will hopefully be eager to visit again. While there’s no telling exactly where the story is headed, readers will hopefully follow the lead of Rook and Olwyn, and hold faith in whatever comes next. — Jenna Anderson

Rating: 5 out of 5

KILLER INSTINCT #6

Do you remember the Killer Instinct fighting games from the 1990s? Well, Dynamite decided to make a six-issue miniseries adapting the game into the comic. The series ends with Jago and a few of his allies trying to fight the demon Gargos, with almost the entire episode dedicated to a non-stop fight scene. Killer Instinct feels very much like a 1990s comic, with little plot and way too much talking. Ediano Silva has a very Liefeld-esque style, which works well with the character designs, although he chooses not to use backgrounds in 95 percent of his panels. If you’ve followed this miniseries, you might also find the ending to be disappointing, as the series ends with a whimper instead of a bang.

Rating: 2 out of 5

KOSHCHEI THE DEATHLESS #4

This series continues to function on two levels, and function exceptionally well on both. It is a survey of the multifaceted Hellboy universe. There are medieval duels and Kirby-like glimpses of the stars in this issue that remind us of just how packed with opportunities Mignola’s imagination is. It is also a grand tragedy, taking an immortal character and watching him fail on all of these planes. Koshchei continues striving to correct his mistakes, but every new action seems to only dig his grave deeper. The final scene of the issue is horror comics at its best, frightening because of a much greater fear than the monsters that populate this world. — Chase Magnett

Rating: 4 out of 5

MECH CADET YU #8

Greg Pak and Takeshi Miyazawa, along with colorist Triona Farrell, continue to deliver one of the most entertaining and YA-friendly comics on the market in Mech Cadet Yu, which ships its eighth issue this week. This issue has some of the strengths and weaknesses of a just-launched series: there is a lot of information to digest, much of it through expository dialogue, and this is an early chapter in a new story arc so this issue is dense with it. Pak successfully manages the load, but it is not as elegant as some of his previous dialogue. The art, meanwhile, continues to be stunning, and Miyazawa’s body language and facial features are some of the best in comics. It feels like the action scenes in this issue were played a little conservative for my taste, but the visual storytelling is top-notch and Miyazawa did some fun, surprising things with a few of the page structures, so it is hard to hold it against the book if some elements of their big action set piece looked… like a big, action set piece. — Russ Burlingame

Rating: 4 out of 5

Other Publishers #4

MONSTRO MECHANICA #5

Monstro Mechanica has finally hit its stride, with a delightful combination of political backstabbing, brutal action, and compelling leads. The book might be named after Leonardo Da Vinci, but Isabel is what makes this book go. Luckily Paul Allor and Chris Evenhuis feature her all throughout this latest issue, with small expressions and mannerisms that manage to endear her even more to readers. It helps that Evenhuis and Sjan Weijers’ art is right on point, both in regards to Isabel and her delightful monster protector. While the political intrigue aspect of this book is a positive for the most part, it does occasionally get a bit confusing as to who is backstabbing who. That can’t detract much though from a fantastic finale to Volume 1, and Vol. 2 should be able to hit the ground running. — Matthew Mueller

Rating: 4 out of 5

MOTOR CRUSH #11

Domino’s journey takes quite a few twists and turns in this issue, and readers will hopefully love every bit of the ride. Volume 2’s various plot lines come to a head in interesting, epic ways, as Fletcher and Stewart make a very cinematic conclusion. Tarr’s art continues to be a candy-colored, adorable delight, making the world of Motor Crush feel fully lived in. And the final pages of the issue are sure to take fans by surprise as well as make them eagerly anticipate the next arc. — Jenna Anderson

Rating: 5 out of 5

RINGSIDE #15

Ringside #15 brings an end to the introspective wrestling series, wrapping the whole story in a poignant and emotional bow as it bids goodbye to the characters. The issue is all about looking back on your life, whether you thought it was wasted or well-lived, and realizing that we have all missed the boat at one time or another. Fans of the series will likely be pleased with how things came to be, even if they do shed a tear or two in the final pages. — Charlie Ridgely

Score: 4 out of 5

SCALES & SCOUNDRELS #8

This issue continues Scales & Scoundrel‘s tradition of lush visuals, and the series overall just gushes personality. Even with a different supporting cast in this week’s issue, the book’s charismatic lead holds things together, and writer utilizes Luvander to pose insightful questions about belief and faith. Galahad and Jeff Powell continue to knock this book out of the park, and while this is a one-off sort of story, you shouldn’t take that as a cue to miss out. — Matthew Mueller

Rating: 4 out of 5

SEX CRIMINALS #23

Fraction and Zdarsky continue to craft a wholly unique, bizarre, beautiful world, and this issue shows just how satisfying it is to spend time within it. This issue bounces back and forth from profound and utterly ridiculous, with subtle moments accented by jokes about the inevitable Shape of Water porn parody. It’s safe to assume that not everyone will respond to this issue the same way, as one could argue that certain scenes can just be chalked up to slow filler. But there’s a lot between the lines (and panels?) here, all of which sets up an interesting next chapter. — Jenna Anderson

Rating: 5 out of 5

SNOTGIRL #10

While the last issue of Snotgirl ended with a cliffhanger, Snotgirl #10 doesn’t quite give a satisfying resolution. What the issue does do and does well is continue add to the layers of story that keeps pointing to something being very off about Cool Girl. She knew the dead girl, she’s continues to be weird, and theres even a really great drug trip sequence that may just lead to Lottie becoming more of a real person and not just the vapid social media celebrity she’s used to being. That might be the most interesting slow development of the issue. While Snotgirl has always tried to balance the ridiculousness of social media culture with the gravity of real life, this issue finally sees Lottie leaning into the seriousness of things and that makes the next story arc all the more exciting when it finally gets here. — Nicole Drum

Rating: 5 out of 5

Other Publishers #5

SONIC THE HEDGEHOG #1

IDW kicks things off right in the first issue of their Sonic series thanks in large part to writer Ian Flynn and pencils from Tracy Yardley. Rather than immediately diving into anything particularly weighty, #1 sets the stage for what’s to come: Eggman is in remission, for lack of a better term, but someone is coordinating his minions. It’s a fine comic that teases more than it shows, but it works — at least for now. — Rollin Bishop

Rating: 3 out of 5

STAR TREK DISCOVERY ANNUAL 2018

The Star Trek Discovery Annual reveals the origin story of Paul Stamets, the scientist behind Discovery‘s unique spore drive, and the start of his relationship with Dr. Hugh Culber. While this issue offers practically nothing to anyone not already invested in the television series, it provides a humanizing story that helps shed light on who Stamets is and his motivations for joining Starfleet, a commitment he seems to chafe against in the show. Angel Hernandez does a great job of keeping the faces looking accurate without treading into uncanny valley territory by skewing too photorealistic, though relies a bit too often on two-shot sequences borrowed from television. This is exactly what a Star Trek: Discovery tie-in comic should be, providing insight into the show’s characters by telling a story that doesn’t fit into the narrative of the television series itself. — Jamie Lovett

Rating: 4 out of 5

SPAWN #284

It’s an interesting take to have a visually compelling hero like Spawn sit in chairs for an entire issue, and by interesting I mean tedious. Spawn is a title that has always functioned best in big splash pages and active scenes. This issue takes place almost entirely in a prison, and relies on a mix of dialogue from interrogation and television. All of that writing fails to convey a single compelling line and allusions to current events fall flat. Jason Shawn Alexander’s rough line work is a great fit for the title, but he is given no opportunities to effectively play on his own strengths this month. This is a comic that’s all talk with a concept that has very little to say, making for mediocre delivery on both fronts. — Chase Magnett

Rating: 2 out of 5

WALKING DEAD #178

Robert Kirkman’s massive expansion of The Walking Dead hits the brakes in issue #178, providing a few important character moments for Michonne and Maggie. The writer tees up the risk of turning a potentially epic story into a frustrating war started by a cringe-worthy brat, which might be an intentionally exaggerating mirroring of events in today’s real world government. — Brandon Davis

Rating: 3 out of 5

WICKED & DIVINE #35

There are a lot of moving pieces in The Wicked + The Divine as it approaches its climax, which makes even the less thrilling issues impressive. This installment is the definition of a middle chapter. Decisions are made and clarifications about power and character dynamics are revealed. Much of what happens here will not be fully understood for issues to come. However, each new interaction or change is shaped to build momentum and will provide readers plenty to ponder before the next issue comes out. McKelvie’s character work is as deft as ever, delivering subtle reactions that reveal as much as any exchange of dialogue. The final few pages also make it clear just how well planned the entire series has been, and promises that whatever happens next will be worth the wait. — Chase Magnett

Rating: 4 out of 5

XERXES FALL OF HOUSE OF DARIUS #1

Frank Miller’s increasingly abstract work results in a handful panels every bit as iconic and striking as the originals in 300. Alex Sinclair’s color in this debut also offer some of the best to complement Miller’s work in recent years, although that is a low bar. This is the reason to pick up Xerxes, an appreciation for design and a handful of storytelling elements. The story itself is even less coherent than the original though. All of the narration is overwrought and tones of xenophobia and toxic masculinity bleed through at the edges. If nothing else, it’s a very good thing Miller is working about 2,500 years before the present day. — Chase Magnett

Rating: 3 out of 5